The Murder Capital continue their legacy with second album ‘Gigi’s Recovery’
The Irish post-punk favourites’ second album was highly anticipated — and it lived up to the hype.
Photo: Press
A lot has changed since The Murder Capital released their debut album, When I Have Fears, back in 2019. The release was a remarkable introduction to The Murder Capital, cascading the band onto the scene and igniting a love for post-punk in many of their listeners. Four years on, the world of contemporary post-punk has changed a lot. Many would say that the genre is at its peak. Others would argue that post-punk has eroded into something over-saturated and pretentious, to be brought up at parties to prove how cool and rough around the edges you are (despite the nepotism money that fuels your ‘alternative’ lifestyle).
The Murder Capital’s second album, Gigi’s Recovery, fell far from this trap. Gigi’s Recovery is a stark refresher of the innovative nature that drew people to the genre in the first place. It is dark and emotive; entwining spellbinding lyricism with unforgettable instrumentals. It is enchanting; a dark fairy-tale of an album, delving into the painful yet beautiful nature of love and life. It is an experience that stays with you for long after the last track ends. But ultimately what makes the album so special is its completely authentic honesty: Gigi’s Recovery is raw and it’s very, very real.
The album opens with Existence. Beginning with an ambient whirring, this track immediately creates a cinematic, narrative feel, implying that the project is as much a story as it is an album. James McGovern’s synthetic vocals share poignant confessions, whilst the ambient whirring grows louder, more intense, and much darker, ultimately reaching an unnerving crescendo on the word “Existence.”
Seamlessly, the track transitions into Crying through the same ambient whirring. This time, the whirring almost instantly transforms into a rhythmic entity, creating an industrial allure, heightened by the instrumentals. McGovern’s vocals are defiant and satisfying, gifting us with whimsical imagery and a triumphant chorus. Crying is progressive by nature, in a way that creates a rewarding listening experience throughout, seamlessly building in intensity, volume, and confidence.
The next track, Return My Head, was one of the album’s singles — and for good reason. The track is an instantly addictive, powerful song. McGovern’s gripping vocals boast catchy, cathartic lyrics and an electric chorus, whilst Diarmuid Brennan’s pulsating drums bring the track to life.
Ethel, another of the album’s prior released singles, is utterly unforgettable. The track is coated in a tempting darkness, like the unspoken feelings that only emerge after dark. Ethel begins with an ominous chiming that is overruled by poignant guitar melodies. Intoxicating vocals express deeply confessional lyrics. The track gradually builds in both intensity and emotion, creating a sense of atmosphere through its lyricism, “You’re full of flavour and you’re winning best dressed tonight / Where are your friends now? / Where are your friends now?” Towards the end of the track, Ethel reaches a satisfying crescendo that gives me goosebumps on every listen; a concoction of crashing instrumentals entwined with raw vocals reminiscing on what could have been: “I always wanted it to be like this for us / Having our first kid / Name her Ethel.”
The Stars Will Leave Their Stage is off to a dark synth-fuelled, retro start, reminiscent of old post-punk whilst still feeling authentic. This track is brimming with versatility, holding similarities to some of the slower tracks of black midi’s Hellfire, with poetic lyricism and angelic vocals, alongside an undeniable atmosphere.
The track on the album that fascinated me the most was Belonging; an intriguing, arguably contradictory track that I still can’t quite pinpoint. It is slow-paced and melodic, in a manner that could be interpreted as either relaxing or eerie. Belonging has a lot less going on instrumentally than other tracks on the album. The main focus of the track is an intimate direct address; it’s up to the listener to decide whether this is a love letter coated in devotion, or all the words left unspoken. Belonging’s broad, ambiguous nature allows listeners to form contrasting interpretations, which is pretty special in itself.
The next track, The Lie Becomes The Self, furthers the strange energy of Belonging and encapsulates those thoughts. Opening with a dark, brooding guitar, it is instantly immersive, encompassing the listener within the warped reality of the song. The Lie Becomes The Self is a lyrical masterpiece, contrasting powerful imagery with questions of reality, as well as an individual, personal touch.
The energy levels are brought right back up with A Thousand Lives, a voracious single that is followed by We Had To Disappear, a heartfelt emotional ballad. Starting with just slow vocals and keys, We Had To Disappear lures the listener into a false comfort of mellowness, that is soon overcome by a roaring instrumental bridge fueled with energy. Once again, Gigi’s Recovery blesses us with strong lyricism, with ethereal natural imagery alongside deeply poignant confessions: “I lie awake / And watch you waste away / Watch you waste away”. After a charging, dramatic instrumental encore, we are left with some final impactful lines, before the track fades out; “A lonely place to come from here / That’s all we had to disappear.”
Only Good Things is the final of the album’s singles and a understandable fan favourite. This track serves as a powerful, catchy stand-alone in its own right, whilst also providing a sense of light relief within the overall structure of the album. Only Good Things is reminiscent of seasons turning to spring; light and hopeful in spite of the lingering cold and darkness.
The titular track had high expectations to live up to. It is the longest track, nearing six minutes in length. Within this time, we are taken on a journey; blossoming with beautiful imagery, and heartfelt lyrical mastery that is presumably addressed to ‘Gigi’. The track is progressive, with instrumentals gradually building, and vocals growing more earnest. Nearing the end of the track is a mellowing instrumental fade out that is sincerely pretty. The final line summarises the entire song, and arguably the album too. It is direct and simple, as though it is no longer worth coating the truth anymore. This simplicity makes it all the more effective: “Gigi, you never left me, Gigi.”
The album comes to a cyclical end, with the last track Exist being reminiscent of the album’s opening track, Existence. Exist opens with melodic acoustic guitar, exuding a peaceful ambience. Whilst Existence speaks of “Existence fading”, Exist reminisces on the journey encountered throughout the album, with an optimistic, “Existence changing.” The album comes to an open end, calmly fading out and leaving a definitive sense of hope.
Gigi’s Recovery is out now via Human Season Records.
